Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Rwanda and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1979.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Columbus kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the harpsichord sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Fortunes to the funk kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Rahsaan Roland Kirk. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Toni Rubio,
Charles Mingus,
Tubeway Army,
H. Thieme,
The Grass Roots,
Glambeats Corp.,
Moby Grape,
Harmonia,
Marmalade,
Mission of Burma,
London Community Gospel Choir,
Rakim,
Lou Reed & John Cale,
Scratch Acid,
Sonny Sharrock,
F. McDonald,
Bobby Womack,
Kool G Rap & DJ Polo,
Spoonie Gee,
Larry & the Blue Notes,
The Cosmic Jokers,
Intrusion,
Excepter,
La Düsseldorf,
The Last Poets,
Essential Logic,
The Blues Magoos,
Magazine,
kango's stein massive,
Con Funk Shun,
James Chance & The Contortions,
Eddi Front,
Sarah Menescal,
The Men They Couldn't Hang,
A Certain Ratio,
a-ha,
Lower 48,
Andrew Ashong & Theo Parrish,
Mary Jane Girls,
Lindisfarne,
Fear,
Masters at Work,
New Age Steppers,
Skriet,
Zero Boys,
Pharoah Sanders,
Von Mondo,
DJ Style,
Gary Puckett & The Union Gap,
David Bowie,
Oneida,
Nas,
Echospace,
Q and Not U,
Nirvana,
Ultravox,
The Fall,
AZ,
Bobby Byrd,
Girls At Our Best!,
Jandek,
Ten City, Ten City, Ten City, Ten City.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.